OCTOBER,  1908 


MORETTO 


PRICE,  20  CENTS 


83-B 
8950 


Jlil^ueiiillpntlita 


MORETTO 


PART  106  VOLUME  9 


MASTERS    IN    ART 

A      SERIES      OF       ILLUSTRATED 
MONOGRAPHS:    ISSUED     MONTHLY 


PART   106 


OCTOBER 


VOLUME    9 


mor^tto 


CONTENTS 


Plate  I. 

Plate  II. 

Plate  III. 

Plate  IV. 

Plate  V. 

Plate  VI. 

Plate  VII. 

Plate  VIII 

Plate  IX. 

Plate  X. 

The  Life  of  Moretto 

The  Art  of  Moretto 


Imperial  Gallery,  Vienna 

Martinengo  Gallery,  Brescia 

Martinengo  Gallery,  Brescia 

Martinengo  Gallery,  Brescia 

Church  of  S.  Maria  in  Calchera,  Brescia 

Hermitage  Gallery,  St.  Petersburg 

Royal  Gallery,  Munich 


St.  Justina 

Madonna  in  Glory,  with  Saints 

Madonna  and  Child  [Detail] 

Supper  at  Emmaus 

Magdalene  at  the  Feet  of  the  Saviour 

Faith 

Portrait  of  an  Ecclesiastic 

A  Botanist 

St.  Nicholas  Bari  presenting  Infants  to  the  Madonna       Martinengo  Gallery,  Brescia 

Portrait  of  an  Unknown  Man  Gallery  of  Sir  H.  Layard,  Venice 

Page  23 
Page  30 

Criticisms  by  Berenson,  Crowe  &  Cavalcaselle,  Lanzi  &  Sealey 
The  Works  of  Moretto :    Descriptions  of  the  Plates  and  a  List  of  Paintings  Page  37 

Moretto  Bibliography  Page  42 

Pboto-tngravings  by  Suffolk  Engraving  and  Elictrotjrfing  Co.:  Boston.     Press-wori  by  th*  Evtrttt  Prta  :  Boston. 
A  compltt*  indtx  for  frtvious  numbtrs  will  ht  found  in  the  Readtr's  Guidi  to  Piriodical  Literaturt^  which  may  h*  consulted  in  any  library. 


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MASTERS     IN     ART 


mor^tto 


BRESCIAN    SCHO 


\ 


MASTERS  IN   AET      PLATE    I 

PHOTOGRAPH     BY    BRAUN,     CLEMENT     &    CIE 


[  388  ] 


MOEETTO 

ST.  JUSTINA 

IMPEKIAL,  GAIiliEHX,  VIENNA 


r 


MASTEHS  IN  ART     PLATE  II 

PHOTOGRAPH     BY    ALINARI 

[  38r,  ] 


MORETTO 

MADONNA  IN  GLORY   WITH  SAINTS 

MAKTINENGO  GAIiLERT,  RRESCIA 


MASTEHS  ISr  ART     PLATE  HI 

PHOTOGRAPH     BY    ALINARl 

[387] 


MOHETTO 
MADONNA   AND  CHILD    [oETAIIi] 
MAKTINENGO   GALIiEHT,   BRESCIA 


m 


i 


H    ^.  W 

H    "  ^ 

W    Eh  |3 

K  oi  ;^, 

S    g  O 

ft  ^ 


MASTERS  IN  AET     PLATE  V 

PHOTOGRAPH     BY    ALINARI 
[391] 


MOEETTO 
MAGDALENE    AT    THE    EEET    OF  THE    SAVIOUE 
CHUBCH  OF   S.   MAHIA  IN  CALCHEEA,   BEESCIA 


L 


i 


MASTEHS  JN  ABT      PLATE  VI 

PHOTOGRAPH    BY     HANFSTAENGL 
[393] 


MOEETTO 

FAITH 

HERMITAGE  GALIiEKY,  ST.  PETEHSBUKG 


i 


MASTEES   IN  AHT      PLATE  VII 

PHOTOGRAPH     BY     HANFSTAENGL 


[  395  ] 


MOEETTO 

POETEAIT  OF   AN   ECCLESIASTIC 

BOXAL  GALLEET,  MUNICH 


il. 


i 


MASTERS  IN   ART     PI>ATE  VIII 

PHOTOGRAPH     BY    ALINARI 


[397] 


MORETTO 
.  BOTAKIST 


^ 


MASTEBS  IN  AET      PLATE  IX 

PHOTOGRAPH     BY    ALINARI 


[399] 


MOHETTO 
ST.   ]!fICHOLAS  BAHI   PRESENTING  INFANTS   TO   THE  MADONNA 
MAKTINENGO   GAXiLEKY,  BKESCIA 


f 


L 


MASTERS  ISr  AHT      PLATE  X 

PHOTOGRAPH    BY    ALINARI 

[40il 


MOKETTO 

POETHAIT  OF  AN  UNKNOWK"  MAN" 

GALLEKY    OF   SIR  H.   LA  YARD,   VENICE 


r 


MASTERS    IN    ART 


Plot ^ tto 


BORN    149  8:    DIED    1555  (?) 
BRE  SCI  AN     SCHOOL 


ALLESSANDRO  BON\aCINO,  more  commonly  called  Moretto,  was 
-/^.  born  at  Rovato,  near  Brescia,  about  1498.  The  family  came  originally 
from  Ardino.  He  first  studied  with  Ferramola,  a  Brescian  painter  of  no  great 
importance.  The  date  of  his  death  is  lacking.  He  painted  so  late  as  1554, 
and  died  probably  in  1555.  He  was  buried  in  the  Church  of  San  Clemente,  in 
Brescia. 

Brescia  is  a  little  hill  town  built  on  a  spur  of  the  Rhoaetian  Alps,  and  near  it 
towers  that  fine  old  castle  the  *' Falcon  of  Lombardy."  Its  streets  are  of  a 
picturesqueness  much  like  other  Italian  towns,  only,  strange  to  say,  they  are 
rather  cleaner.  The  town  has  a  fine  old  cathedral,  of  the  circular  type,  and  a 
new  cathedral  not  so  fine  and  of  no  particular  type  at  all.  There  are  Roman 
baths,  or  the  ruins  of  them,  to  be  seen,  and  there  is  a  fine  collection  of  manu- 
scripts to  delight  the  earnest  student.  But  to  the  artist  the  great  interest  of 
Brescia  is  that  it  is  the  birthplace  and  the  living-place  of  Allessandro  Bonvi- 
cino,  more  commonly  called  Moretto.  II  Moretto  means,  it  may  be  said  in 
passing,  ''The  Moor,"  or  *'The  Blackamoor,"  and  the  term  was  probably 
merely  a  playful  allusion  to  Moretto's  dark  complexion  —  dark,  that  is, 
among  the  blond  Lombards  of  Northern  Italy.  This,  however,  is  merely 
speculation;  the  name  is  not  definitely  accounted  for. 

There  is  little  to  be  said  about  Moretto's  life.  He  was  one  of  those  men  who 
did  their  work  well  but  quietly,  so  that  little  has  been  told  about  him.  If  he 
had  lived  in  Venice,  where  Ridolfi  says  he  studied,  he  would  doubtless  have 
become  one  of  the  most  famous  painters.  As  it  is,  shut  up  in  his  little  Brescia, 
he  produced  charming  works,  hardly  to  be  excelled  anywhere,  but  works 
which,  unfortunately,  have  been  but  too  little  known.  It  was  hard  to  get  to 
Brescia;  the  ordinary  traveler  did  not  go  there.  So  the  histories  of  art  got 
themselves  written  w^ith  no  particular  allusion  to  Moretto.  Ridolfi  and  Vasari, 
it  is  true,  speak  of  him,  but  at  no  great  length.  His  is  a  reputation  which  must 
increase  with  the  years,  for  his  work  not  only  had  a  soundness  quite  uncom- 
mon in  Northern  Italy,  but  a  noble,  serious  charm  as  well. 

The  Venice  of  his  day  must  have  been  a  most  stimulating  place  for  a  young 
man.    Titian  was  the  supreme  young  master.    Giorgione  had  just  died.    John 

[403] 


24  MASTERSINART 

Bellini,  an  old  man,  was  still  alive.  The  whole  town  was  full  of  young  and 
eager  craftsmen,  intent  on  learning  their  trade  in  the  greatest  school  of  the 
world.  Moretto  may  have  known  Tintoretto  and  Palma  Vecchio.  He  may 
have  brushed  elbows  against  El  Greco,  another  student  in  the  school  of  Titian. 
He  may  have  seen  Albert  Durer,  when  the  latter  made  his  visit  to  Venice. 

The  curious  thing  about  Moretto,  however,  is  that  with  all  these  induce- 
ments to  paint  in  a  style  nearly  approaching  the  Venetian,  he  chose  to  go  back 
to  his  Brescia  in  the  hills  and  to  paint  quite  in  his  own  manner  —  in  cool, 
silvery  tones  quite  different  from  the  hot  gold  of  Venice.  Yet  in  this  Venetian 
school  he  must  have  played  a  good  part  in  his  day,  before  he  went  back  to  his 
native  town.  One  or  two  of  his  pictures  still  remain  in  Venice;  notably  his 
*  Feast  in  the  House  of  Simon,'  which  is  a  very  fine  production. 

At  the  same  time,  it  is  not  absolutely  known  that  Moretto  studied  in  Venice. 
The  excellent  Ridolfi  says  he  did,  but  Ridolfi  is  not  wholly  reliable.  At  all 
events,  to  begin  with  he  studied  with  Floriano  (or  Fioravente  Ferramola). 
This  painter  is  accounted  of  the  Venetian  school,  although  his  work  shows 
rather  the  influence  of  Foppa,  Costa,  and  of  Francia.  A  pleasant  little  story 
concerning  him  relates  that  when  Gaston  de  Foix  captured  and  sacked  Brescia 
Fioravente  was  so  absorbed  in  his  painting  that  he  worked  on  regardless  of 
the  assault  *' until  he  was  surprised  by  the  plunderers  at  his  easel.  Gaston 
compensated  him  for  his  losses,  and  ordered  a  portrait  of  himself."  Fioravente 
was  apparently  of  no  great  importance  himself,  but  seems  to  have  been  able 
to  hand  on  the  secret  of  those  cool,  silvery  tones  which  Vincenzo  Foppa  had 
taught  him. 

Romanino,  also,  is  said  to  have  somewhat  influenced  the  style  of  Moretto. 
Girolamo  Romanino  was  another  Brescian  born  some  ten  years  before 
Moretto.  His  family  came  from  Romano,  and  thus  he  got  his  name.  W  hether 
he  really  influenced  Bonvicino,  or  whether  the  latter  influenced  him,  is  a 
matter  open  to  discussion;  for  Romanino,  having  left  Brescia  when  Moretto 
was  about  fourteen  years  old,  returned  five  years  later  to  find  the  latter  fully 
established  as  a  painter.  However,  it  seems  likely  that  the  youth  of  nineteen 
might  well  have  learned  a  good  deal  from  the  older  Romanino.  The  two 
joined  in  a  contract  to  decorate  the  chapel  of  the  Corpus  Christi  in  San 
Giovanni. 

Romanino,  doubtless,  painted  some  beautiful  things.  His  style  was  softer 
and  less  incisive  than  that  of  Bonvicino.  Sometimes  the  quality  of  Bonifacio 
and  others  of  the  weaker  Venetians  is  suggested  in  it,  although  his  color  is 
hardly  so  lovely.  In  drawing,  his  figures  are  heavier  than  Moretto's  and, 
while  his  design  is  adequate,  it  hardly  shows  the  originality  that  charms  us  in 
the  other  man.  Something  of  the  influence  of  Giorgione  clung  to  him  always; 
not  that  he  himself  was  a  student  of  that  master,  but  he  seems  to  have  been 
more  open  to  the  all-pervading  Giorgionesque  influence  than  was  Moretto. 

Another  man  who  may  or  may  not  have  influenced  Moretto  was  Savoldo. 
Giovanni  Girolamo  Savoldo  was  another  Brescian  (surely  Brescia  was  the 
home  of  pictores  ignoti)  in  1480,  possibly  so  late  as  1485,  fifteen  or  twenty 
years  before  Moretto.    He  lived  long  in  Venice,  acquired  much  of  the  Venetian 

[404] 


MORETTO  25 

manner,  without  losing  his  own  marked  originality,  and  painted  various  de- 
lightful pictures,  among  others  'The  Venetian,'  *St.  Mary  Magdalen  ap- 
proaching the  Sepulcher,'  and  'Adoration  of  the  Shepherds.'  He,  too,  had 
that  "silvery  manner"  which  seems  to  have  been  the  birthright  of  Brescians 
from  Vincenzo  Foppa  down  to  Moroni,  the  pupil  of  Moretto.  Just  what  his 
relations  with  Moretto  were  does  not  appear,  but  it  may  very  well  be  that  he 
too  had  his  influence  on  an  impressionable  young  painter. 

Again,  it  is  said  that  Moretto  tried  to  introduce  something  of  the  style  of 
Raphael  into  his  works.  This  may  possibly  be  so,  but  seems  a  rather  far- 
fetched idea.  While  both  men  were  great  space-fillers,  their  method  of  attack 
was  quite  different.  Moretto's  seems  now  more  original  because  less  well 
known.  Again,  Raphael's  effort  would  seem  to  have  been  to  make  his  figures 
typical.  Moretto's  have  each  one  a  quite  distinct  personality.  Moretto's 
point  of  view,  in  short,  was  more  modern  in  this:  that,  in  his  best  work,  he 
treated  his  subjects  in  a  more  realistic  and  personal  manner.  This  is  not  to 
say  that  his  method  was  the  better;  one  simply  notes  how  it  diff'ers  from 
Raphael.  It  should  not  be  forgotten  that  Raphael  derived  largely  from  Da 
Vinci,  as  did  also  most  of  the  north  of  Italy  men  —  Moretto  among  the  rest, 
however  indirectly.  It  seems  likely,  then,  that  what  Vasari  called  Raphael- 
esque  when  he  saw  Moretto's  work  was  rather  the  latter's  version  of  the  in- 
vincible Da  Vinci  tradition. 

In  order  to  begin  to  understand  the  influences  that  may  have  aff"ected  Mo- 
retto's work,  we  must  go  back  to  a  certain  Vincenzo  Foppa.  He  was  the  mas- 
ter of  Ferramola,  who,  in  his  turn,  was  the  master  of  Moretto.  What  makes 
Foppa  significant  is  that  in  his  work  first  appears  those  "silvery,  almost  shim- 
mering eff'ects"  which  in  somewhat  diflPerent  guise  we  so  admire  in  Moretto. 
And  again  he  was  one  of  the  first  masters  to  begin  the  study  of  edges,  to  make 
his  contours  melt  into  the  background.  In  a  word,  he  was  one  of  the  first  to 
really  see.  He  too  was  a  Brescian,  which  in  its  little  way  seems  to  have  been 
a  home  for  the  beginnings  of  modern  art. 

But  after  all,  though  this  discussion  of  the  various  forces  which  influenced 
Moretto  has  its  interest,  the  really  important  thing  is  to  realize  that  he  was  a 
particularly  original  man,  not  much  influenced  by  any  one.  The  first  impres- 
sion which  his  work  makes  on  one  is  that  it  is  diff'erent  from  the  rest.  It  is 
only  afterwards  that  one  begins  to  find  certain  suggestions  of  influence  by 
other  men.  And  even  here,  these  signs  are  mostly  found  in  his  early  and  im- 
mature work;  for  in  some  of  his  finest  things,  like  the  'St.  Nicholas  Bari  pre- 
senting Infants  to  the  Madonna '  (Plate  ix)  or  the '  St.  Justina '  (Plate  i),  there  is 
no  particular  suggestion  of  influence  by  any  one.  On  the  other  hand,  partic- 
ularly from  the  'St.  Justina,'  one  gets  a  sense  of  marked  originality. 

The  first  thing  that  strikes  the  casual  observer  in  regard  to  Moretto  is  that 
his  color  is  so  diflPerent  from  the  other  Venetians  (for  Moretto,  though  a  Bres- 
cian, may  be  called  half  a  Venetian,  as  he  was  strongly  affected  by  the  Vene- 
tian school).  Where  most  of  the  Venetians  h^ve  more  or  less  that  famous 
"golden  glow"  which  one  reads  about  in  books,  Moretto's  works,  on  the  other 
hand,  have  a  wonderful  cool  note  which  the  older  writers,  for  want  of  a  better 

[405] 


26  MASTERS     IN     ART 

word,  call  **  silvery."  And  this  silvery  note  is  nearer  what  the  moderns  have 
come  to  feel  is  the  modest  truth  of  nature.  That  is  the  feeling  that  one  has  in 
looking  at  his  works:  that,  while  fine  in  design,  very  decorative  in  effect,  they 
also  look,  especially  for  a  painter  of  those  days,  singularly  true.  The  figures 
look  much  as  one  fancies  they  must  have  looked  in  nature.  And  this  truth  is 
not  a  matter  of  meticulous  observation  (for  Moretto  renders  in  the  **  grand 
style  "  as  well  as  any  man),  but  rather  of  justness  of  the  tones  and  colors.  This 
same  silvery  tone  comes  about  in  an  interesting  way.  From  what  one  reads  or 
observes  about  most  of  the  great  Venetians,  —  Titian,  Palma  Vecchio,  and 
others, —  it  is  apparent  that  they  started  their  pictures  by"underpainting"  all 
the  forms  in  a  warm  gray  body  color,  probably  tempera.  When  this  was  well 
dried  various  glazes  (which  to  the  uninitiate  may  be  called  thin  rubbings  of 
transparent  oil-color)  were  put  on,  and  the  final  effect  of  the  picture  obtained. 

Now  it  seems  evident  that  Moretto  underpainted  with  a  cool  gray  rather 
than  a  warm  gray;  that  is,  his  gray,  instead  of  being  made  from  black,  Vene- 
tian red,  yellow  ocher,  and  white,  was  apparently  made  of  black  and  white. 
This  gave  the  black,  when  mixed  at  all  with  white,  a  "cold"  or  slightly  bluish 
efFe'ct.  It  follows  that  when  he  glazed  over  this  underpainting  (for  in  other 
matters  his  method  was  apparently  very  like  the  ordinary  Venetian  way)  a 
subtle  ''silvery"  tonality  still  persisted  throughout  his  whole  picture. 

Curiously  enough,  Moretto  reminds  one,  in  this  technical  way,  of  a  very 
different  painter;  to  wit,  the  prodigious  Vermeer  of  Delft,  of  whom  one  has 
heard  so  much  of  late.  For  Vermeer,  too,  had  a  way  of  underpainting  —  not 
with  black,  but  with  blue;  so  much  so,  indeed,  that  certain  of  his  pictures, 
notably  the  'Woman  at  a  Spinnet'  in  the  National  Gallery,  are  seriously  in- 
jured by  the  fading  out,  or  cleaning  off,  of  what  one  guesses  to  have  been  some 
sort  of  yellow  lake,  which  permits  the  blue  to  show  through  too  much,  so  that 
the  whole  picture  has  a  slightly  greenish  cast. 

It  is  also  as  a  designer  that  Moretto  makes  a  very  strong  appeal.  He  has 
wonderful  power  of  filling  spaces  in  a  handsome  way;  indeed,  one  is  inclined 
to  rank  him  near  Titian  in  this  respect.  A  picture  of  his  which  one  thinks  of 
in  this  respect  is  the  magnificent  'St.  Nicholas  presenting  Infants  to  the  Ma- 
donna'(Plate  ix).  Here  the  sense  of  line,  the  intelligence  with  which  flowing 
lines  are  broken  at  just  the  right  point,  the  skilful  balance,  so  different  from 
the  old,  pyramidal  scheme  of  things,  are  quite  admirable.  In  the  'St.  Justina' 
(Plate  i),  too,  the  arrangement  is  wholly  novel,  unexpected,  and  yet  most  sat- 
isfying. 

It  is  this  quality  of  novelty,  by  the  way,  which  is  one  of  Moretto's  most 
charming  characteristics  to  the  strong  in  spirit.  At  the  same  time,  it  is  prob- 
ably one  of  the  things  which  has  prevented  his  receiving  that  recognition  and 
acceptance  which  were  his  due.  What  could  be  more  different  from  the  ordi- 
nary picture  than  this  same  'St.  Justina'  ?  In  some  ways  it  is  one  of  the  most 
original  pictures  ever  painted.  Moretto  is  one  of  the  noble  army  of  artistic 
martyrs,  only  in  his  case  there  was  not  that  lack  of  technical  ability  which  so 
often  explains  a  man's  failure  to  please. 

When  one  has  said  that  Moretto  was  a  great  designer,  it  follows  almost  of 

[406] 


MORETTO  27 

necessity  that  he  was  a  great  decorator;  akhough  some  great  designers,  Hke 
Vermeer  of  Delft,  have  never  made  decorations  at  all.  At  all  events,  a  great 
decorator  Moretto  certainly  was.  And,  although  in  some  ways  one  feels  he 
lacked  recognition,  at  least  he  had  this  joy,  that  so  many  good  men  have 
longed  for  in  vain  —  the  chance  to  cover  great  surfaces  with  beautiful  im- 
aginings. The  good  Brescians,  at  least,  seem  to  have  known  a  man,  and 
Brescian  churches  are  full  of  his  noble  adornments. 

It  would  seem,  then,  that  his  grasp  on  character  must  have  been  strong; 
and  so,  indeed,  it  is.  It  is  not  only  in  his  portraits,  but  in  all  his  work,  that  his 
sense  of  character  makes  itself  evident.  Indeed,  with  all  his  splendid  skill  in 
design  and  charm  of  color,  one  feels  Moretto,  compared  with  the  Venetians, 
to  have  been  a  portrait-painter  making  decorations.  He  did  not  seem  to  feel 
it  necessary,  as  so  many  decorators  have  done,  to  reduce  his  heads  and  fig- 
ures to  types.  On  the  other  hand,  he  was  able  to  make  each  head  very  per- 
sonal and  yet  preserve  the  large,  decorative  aspect  of  his  ensemble. 

It  is  not  that  the  heads  are  overcharacterized,  and,  indeed,  in  some  of  his 
virgins  and  angels  one  wishes  that  he  had  made  them  more  characteristic. 
But  in  his  large  compositions,  as  in  the  'Feast  at  the  Pharisee's  House,'  he 
loves  to  introduce  secondary  figures  full  of  character  and  interest.  So,  indeed, 
did  many  Venetians  —  Paul  Veronese,  for  instance,  to  name  no  lesser  man. 
But  Veronese's  men,  though  sufficiently  characterized,  are  evidently  primarily 
decorative  in  intention,  while  it  is  evident  enough  that  Moretto  enjoyed 
searching  the  character  while  always  awake  to  his  decorative  effect.  Some- 
times, as  in  the  buffoon  of  this  same  Pharisee's  feast,  the  figures  are  a  little  gro- 
tesque; yet,  for  a  man  who  packed  his  compositions  so  full  and  so  loved  de- 
tail, Moretto  is  singularly  successful  in  avoiding  the  grotesque. 

To  say  that  a  man  gets  character  is,  after  all,  only  one  way  of  saying  that 
he  draws  very  well.  And  Moretto,  in  certain  respects,  drew  better  than  any 
of  the  Venetians.  His  love  for  truth  sometimes  led  him  to  draw  an  ungainly 
shape  as  he  saw  it.  He  had  not,  apparently  he  did  not  care  to  have,  the  large 
Venetian  manner  of  indicating  and  massing  figures,  but  his  heads  are  better 
constructed  and  the  forms  are  better  made.  At  times,  his  drawing  of  a  hand 
or  arm  is  as  precise  as  if  done  by  Ingres. 

Even  if  at  times  one  feels  that  Moretto's  canvases  are  too  crowded  —  and 
certainly  one  sometimes  does  so  feel  them  to  be  —  there  are  always  some  splen- 
did bits  which  make  it  many  times  worth  while  to  have  studied  the  picture. 
For  instance,  in  the  *Fall  of  Manna,'  Church  of  St.  John  the  Evangelist, 
Brescia,  which  surely  is  rather  too  crowded  a  composition,  one  finds  admi- 
rable pieces  of  detail,  like  the  children  in  foreground  and  a  noble  woman's 
head  at  the  right. 

Moretto,  like  many  painters  of  distinction,  had  a  peculiar  feminine  type 
which  he  was  evidently  fond  of  painting.  It  is  not  that  he  did  not  have  a  firm 
grip  on  character,  for  he  varied  his  types  more  than  did  most  painters  of  his 
day.  Yet  still  one  notes  this  type  persisting  through  his  work,  usually  in 
some  angel  or  spirit  rather  than  in  the  central  Madonna  of  the  composition. 
Indeed,  truth  to  tell,  his  Madonnas  themselves  are  apt  to  be  a  little  tame  and 

[407] 


28  MASTERS    IN    ART 

fade.    It  seems  to  be  hard  to  paint  a  woman  so  that  at  the  same  time  she  will 
look  good  and  beautiful  and  strong. 

Our  master  had  an  almost  Crivellian  love  for  splendid  stuffs,  especially  for 
the  stiff,  glittering  surface  of  gold-shot  brocades,  although  he  does  not  intro- 
duce it  so  liberally  as  did  Crivelli.  In  his  'Herodius'  there  is  fur  and  velvet, 
tapestry  and  gleaming  hair  and  pearls.  And  with  this  goes  a  love  of  still  life 
which  Moretto  introduces  into  his  large  canvases  with  all  the  gusto  of  a  Ve- 
netian. He  is  fond,  too,  of  entwining  in  the  hair  of  his  favorite  female  types 
garlands  of  leaves  arranged  in  a  fantastic  way.  His  love  of  gorgeous  draperies, 
and  especially  his  skill  in  painting  them,  in  rendering  and  differentiating  rich 
textures,  is  commented  on  by  almost  every  writer  who  describes  his  work. 

All  the  Venetians  loved  landscape,  and  Moretto  loved  it  too,  and  makes  it 
very  well  for  his  day  and  generation,  but  quite  in  his  own  way.  Or  let  us  say, 
his  landscape  tells  of  his  surroundings  just  as  that  of  Titian  or  of  Giorgione 
told  of  theirs.  His  is  the  landscape  of  a  hill  town  with  handsome  castles  cutting 
the  sky-line  here  and  there.  And  his  realism  nowhere  shows  more  than  in 
his  landscape  work;  for,  where  with  the  other  Venetians  the  trunk  of  a  tree 
looks  like  a  good  enough  tree-trunk,  but  in  no  sense  a  particular,  individual 
trunk,  with  Moretto  it  is  quite  characterized,  just  as  his  heads  are,  as  that 
particular  tree  and  no  other.  One  even  sees  where  the  bark  has  come  off  in 
great  rolls;  and  yet,  strange  to  say,  this  does  not  at  all  injure  the  decorative 
effect,  but  rather  enhances  it. 

For  Moretto  apparently  understood  perfectly  well,  or  felt  instinctively, 
that  in  decoration  one  does  not  need  to  present  a  focus  —  indeed,  it  is  unde- 
sirable —  and  that,  therefore,  it  is  well  to  make  each  part  of  the  composition 
interesting  and,  if  possible,  beautiful.  He  makes  each  part  of  his  picture  in- 
teresting; there  are  no  tiresome  spots  in  it.  He  has  not,  perhaps,  Titian's  re- 
markable power  of  making  each  piece  interesting,  yet  in  his  own  way  he 
achieves  delightful  detail. 

Besides  all  these  things,  Moretto  was  a  very  great  portrait-painter.  Indeed, 
he  was  the  master  of  Moroni,  and,  while  certain  portraits  by  the  latter,  notably 
the  famous  'Tailor'  of  the  National  Gallery,  are  probably  more  remarkable  as 
portraits  than  anything  that  Moretto  accomplished,  still  his  portraits  would 
hold  their  own  with  Moroni's  anywhere,  and  in  studying  portraits  by  the  two 
men  it  is  not  hard  to  see  where  the  younger  man  learned  his  trade. 

Moretto  also  made  frescos,  and,  although  the  art  writers  tell  us  that  these 
were  inferior  to  his  oil-paintings,  they  have,  nevertheless,  excellent  qualities. 
The  cool  note  of  the  fresco  quite  suited  our  painter's  liking  for  silvery  tones. 

Moretto's  technique  was  based  on  that  of  the  Venetians.  That  it  grew 
different  was  due  in  some  respect,  as  we  have  already  pointed  out,  to  the  fact 
of  his  living  by  himself  in  his  little  hill  town,  and  painting  perforce,  rather 
than  by  choice,  by  himself.  Indeed,  one  might  say  of  him  that  he  was  one 
of  the  first  individualists.  He  does  not  seem  in  any  way  to  have  been  a  proud 
or  quarrelsome  spirit  like  Goya  or  like  Salvator  Rosa,  who  scorned  others  and 
tried  to  paint  differently.    On  the  other  hand,  his  child-like  piety  is  spoken  of. 

[408] 


MORETTO  29 

Apparently  he  worked  in  a  sad  sincerity.  His  works  were  individual  simply 
from  the  unconscious  power  and  originality  of  the  man. 

Moretto  was,  as  has  been  said,  a  man  of  great  piety,  and  it  is  told  of  him 
that  he  was  accustomed,  when  he  had  a  highly  important  subject,  as  for  in- 
stance the  *  Virgin  Mother,'  to  prepare  himself  for  the  painting  by  prayer  and 
fasting.  At  all  events,  all  Moretto's  pictures  have  a  fine,  large,  tranquil  feel- 
ing, as  if  their  maker  were  at  peace  in  mind. 

The  gesture  of  Moretto's  figures  is  always  adequate;  perhaps  it  was  not 
very  poignant.  For  the  most  part,  painters  of  that  day  strove  to  make  their 
figures  take  large,  ample  poses,  without  worrying  too  much  as  to  whether  these 
gestures  were  poignant  or  intense.  Of  course,  there  are  exceptions  to  this. 
Yet  certainly,  of  all  the  Venetian  school,  it  is  hard  to  think  of  many  who  paid 
great  attention  to  gesture  as  gesture.  Tintoretto,  perhaps,  did  more  than  the 
rest.  In  Tintoretto's  'Miracle  of  the  Slave'  there  is  the  beautiful  gesture  of 
the  mother  holding  her  child;  but  even  Tintoretto,  when  he  came  to  make  the 
principal  figures  of  his  tableaux,  was  apt  to  treat  them  in  a  rather  common- 
place way  when  it  came  to  gesture.  It  may  be  that  there  was  a  feeling  that 
the  gesture  of  the  principal  figures  must  not  be  too  intense,  that  such  a  treat- 
ment would  not  be  dignified.  No  doubt  hierarchic  influence  had  something 
to  do  with  it.  In  a  religious  composition  ordered  by  churchmen  it  was  impossi- 
ble to  have  the  chief  figures  act  with  the  freedom  of  the  others.  Even  Paul 
Veronese,  who  had  no  hesitation  about  putting  dogs  and  cats  in  his  religious 
pictures,  eating  up  the  remains  of  the  feast;  who  put  courtiers  in  gorgeous 
Venetian  dresses  and  brought  them  to  gesticulate  at  the  *  Supper  at  Cana'  — 
even  he  was  very  careful  to  have  the  gesture  of  his  principal  sacred  figures 
very  slight  and  dignified. 

Apart  from  his  admirable  technical  qualities,  the  trait  that  charms  one  in 
Moretto  is  a  noble  gravity;  a  noble  realism,  too.  This  quality  is  not  merely  in 
the  expression  of  the  heads  and  in  the  action  of  the  figures,  but  pervades 
everything  —  the  color,  the  chiaroscuro,  and  the  design.  Moretto's  charm  — 
and  he  is  one  of  the  charmers  —  does  not  lie  in  the  same  sort  of  thing  that 
made  the  charm  of  Giorgione  or  Watteau.  In  short,  there  is  no  Pagan  joy  in 
him  or  his  work.  Rather,  they  are  informed  with  a  noble,  serene  gravity, 
which  brings  with  it  a  singular  power  to  soothe  the  spirit. 

Moretto  is  one  of  those  rare  painters  who  are  chiefly  known  and  appreci- 
ated by  the  rafin'e^  and  who  do  not  have  the  recognition  from  the  general  pub- 
lic that  they  deserve.  As  has  been  hinted,  his  fame  is  injured  from  the  fact 
that  so  many  of  his  pictures  are  in  Brescia,  where,  till  recently,  it  has  been 
rather  hard  to  get  at  them.  Certain  pictures  of  his,  like  the  *St  Justina,'  have 
become  very  famous  because  they  are  in  great  public  galleries;  but  others 
equally  fine  are  hardly  known  at  all,  because  they  decorate  dim  old  churches 
in  Brescia,  which  the  generality  of  people  do  not  see  at  all. 


[409 


30  MASTERS    IN    ART 

Ci)e  art  of  i^ontto 

BERN  HARD    BERENSON  «  NORTH    ITALIAN    PAINTERS   OF    THE    RENAISSANCE* 

MORETTO,  the  follow-pupil  of  Romanino,  is  the  nearest  approach  to  a 
great  artist  among  his  exact  contemporaries  in  Northern  Italy  outside 
Venice;  and  even  if  we  include  Venice  he  is  more  than  able  to  hold  his  own 
with  men  like  Paris  Bordone  and  Bonifacio.  He  has  left,  it  is  true,  no  such 
record  of  the  all  but  realized  Renaissance  dream  of  life's  splendor  and  joy  as 
they  have  done  with  their  'Fisherman  and  Doge'  and  'Rich  Man's  Feast.* 
His  color  is  not  so  gay,  and  at  his  worst  he  sinks  perhaps  even  lower  than 
they;  but  he  is  much  more  of  a  draftsman  and  of  a  poet,  and  consequently 
more  of  a  designer.  Thanks  to  these  gifts,  when  Moretto  is  at  his  best  his 
figures  stand  and  grasp,  their  limbs  have  weight,  their  torsos  substance;  and 
even  when  these  merits  are  less  conspicuous  we  can  forgive  him  many  a  short- 
coming for  the  sake  of  the  shimmer,  the  poetic  gravity,  of  his  color,  shot  through 
as  it  is  with  light  and  shade.  He  had,  besides,  unusual  gifts  of  expression,  and 
a  real  sense  of  the  spiritually  significant.  It  is,  therefore,  not  surprising  to 
find  that,  although  he  has  left  no  such  irresistible  works  as  Bordone's  and 
Bonifacio's  two  masterpieces,  he  has  produced  more  truly  admirable  designs, 
more  genuine  portraits,  and  finer  single  heads.  His  *St.  Justina,'  now  at 
Vienna,  is  one  of  the  heroic  creations  of  Italy,  with  something  almost  of  an- 
tique grandeur  and  directness.  Only  less  remarkable  in  its  simplicity  of  ex- 
pression and  largeness  of  design  is  the  picture,  in  the  pilgrimage  church  of 
Paitone,  representing  the  apparition  of  the  Madonna  to  a  peasant  boy;  and 
worthy  of  a  place  beside  it  is  the  fresco  at  Brescia  wherein  we  see  an  ancient 
hermit  beholding  the  Queen  of  Heaven  rising  out  of  a  burning  bush.  Wonder- 
ful as  illustration  is  his  so-called  'Elijah  Waked  by  an  Angel'  (in  San  Gio- 
vanni Evangelista),  which  is  really  a  highly  poetical  landscape,  in  the  fore- 
ground of  which  we  see  two  grand  figures  that  we  might  easily  mistake  for  the 
sleeping  Centaur  Chiron  mounted  by  Victory.  In  quite  another  phase  he 
takes  a  more  purely  "mundane  complexion,  and  in  a  work  like  the  'Christ  at 
the  Pharisee's,'  in  S.  Maria  della  Pieta  at  Venice,  he  anticipates,  as  no  other, 
the  handling  of  similar  themes  by  Paul  Veronese.  As  for  Moretto's  portraits,  I 
will  mention  but  one,  the  'Ecclesiastic'  at  Munich,  but  that  one  not  easily 
outmatched:  as  character  penetratingly  perceived  and  frankly  presented,  as 
design  simplicity  itself,  and  as  color  a  perfect  harmony  in  dark,  soft,  twilight 
grays. 

J.    A.   CROWE    AND    G.  B.    CAVALCASE  LLE        *A  HISTORY  OF    PAINTING  IN    NORTHERN  ITALY* 

THE  Raphaelesque  feeling  which  struck  the  attentive  eye  of  Vasari  breaks 
out  in  the  beautiful  altarpiece  at  San  Giovanni  which  represents  the 
'Massacre  of  the  Innocents.'  In  a  lodge  on  the  battlements  of  Jerusalem, 
Herod  gives  the  signal  for  the  slaughter;  and  the  soldiers  in  the  court  below 
proceed  to  their  task  with  ruthless  ardor.    A  cloud  overhanging  the  scene  en- 

[410] 


MORETTO  31 

circles  and  supports  a  naked  boy  bearing  the  cross,  whose  veil  flutters  in  the 
wind.  Thin  make  and  chastened  action  distinguish  the  mothers  struggHng 
for  the  rescue  of  their  babes;  Hfe  and  energetic  motion  are  displayed  in  the 
persons  of  the  soldiers,  firmness  and  elasticity  in  the  frame  and  limb  of  the 
boy  in  the  clouds;  and  there  is  so  much  Umbrian  sentiment  in  the  setting  of 
the  groups,  in  the  tasteful  choice  of  dress  and  headgear,  that  Moretto  may  be 
suspected  of  having  seen  some  of  Raphael's  prints  and  sketches.  But  in  the 
care  with  which  the  drawing  is  finished  and  detailed,  in  the  run  of  the  con- 
tours, and  in  the  studied  cast  of  drapery  thrown  into  copious  folds  we  are 
as  clearly  reminded  of  the  youth  of  the  artist  as  in  the  smooth  enamel  and 
blending  of  the  dim-colored  flesh. 

The  graceful,  gentle  spirit  which  distinguishes  form,  and  especially  female 
form,  in  the  'Massacre  of  the  Innocents'  recurs  more  expanded  in  the  noble 
'Coronation  of  the  Virgin'  at  San  Nazzaro  e  Celso  at  Brescia,  where  the  Virgin, 
kneeling  to  the  Saviour,  who  crowns  her,  is  enwreathed  in  a  halo  of  clouds 
and  a  glory  of  angels.  On  the  foreground  below,  St.  Michael  treads  on  the 
dragon  transfixed  by  his  lance,  whilst  St.  Joseph  looks  up,  St.  Francis  prays, 
and  St.  Nicholas  attends  in  thought.  In  slenderness  of  proportions,  in  sym- 
pathizing grace  of  attitude  and  pleasant,  characteristic  faces,  this  altarpiece  is 
the  very  best  of  its  kind — cold  perhaps  in  silver-gray  surface,  but  full  of  bright 
harmony  and  color.  Almost  equally  eff^ective  in  arrangement,  expression, 
treatment,  and  tone  is  the' Virgin  and  Child  in  Heaven'  in  the  Tosi  Collection, 
an  altarpiece  composed  for  the  Church  of  Sant'  Eufemia,  in  which  the  young 
Baptist  takes  his  place  in  the  clouds;  and  two  bishops  —  Benedict  and  Pate- 
rius  —  kneel  on  the  foreground,  protected  by  St.  Agnes  and  St.  Euphemia. 
There  is  a  deadened  peachy  bloom  in  the  flesh  of  these  figures  which  absorbs 
light  and  produces  a  neutral  soberness  contrasting  strongly  with  the  vivid 
brightness  of  the  drapery  hues.  The  surfaces  of  flesh  and  draperies  are  pulpy 
and  soft;  when  carelessly  wrought,  they  are  spongy;  when  flayed,  they  have 
a  hardness  of  stone. 

Smaller  pieces  rivalling  these  in  elegant  and  elevated  gentleness  are  the 
'Virgin  and  Child,' —  an  echo  of  that  of  San  Nazzaro,  —  a  sybil,  and  a  Mag- 
dalen in  the  Fenaroli  Collection  at  Brescia. 

Akin  to  these,  again,  in  the  tranquil  grace  and  pure  feeling  of  many  of  its 
parts  is  the  altarpiece  of  the  high  altar  at  San  Clemente,  the  parish  church 
and  burial-place  of  Moretto,  at  Brescia,  where  the  Virgin  and  Child  under 
arches,  adorned  with  garlands  of  leaves  and  fruit  amidst  which  cherubs  play, 
look  down  from  a  throne  resting  on  a  semicircular  entablature.  Within  the 
curve  of  this  novel  sort  of  niche  St.  Clement  in  state  gives  the  benediction,  in 
presence  of  St.  Dominic,  St.  Florian,  St.  Catherine,  and  St.  Mary  Magdalen. 
A  fault  in  this  otherwise  well-distributed  and  harmonizing  composition  is  the 
strained  posture  of  St.  Florian,  whose  conventional  action  as  he  shows  the 
banner  and  palm  recalls  Caroto's  impersonations;  but  in  other  respects  the 
figures  are  models  of  stately  dignity. 

A  fine  general  eflTect  of  cold  and  silver  duskiness  combined  with  sprightly 
action  in  numerous  figures  is  the  'Assumption'  ordered  in  1524  and  finished 

[411] 


32  MASTERS    IN    ART 

in  November,  1526,  for  the  old  cathedral  of  Brescia,  contemporary  as  to  date 
with  the  celebrated  fresco  of  the  *  Miracle  of  the  Blood'  on  the  Porta  Brucci- 
ata,  which  perished  in  the  sixteenth  century. 

In  other  compositions  of  these  and  subsequent  years  we  note  the  impress 
of  Romanino's  and  Savoldo's  styles  clinging  to  Moretto's  handling, —  remi- 
niscent of  the  former,  the  lively  composition  of  an  organ  screen  representing 
incidents  from  the  legend  of  St.  Peter  at  San  Pietro  in  01iveto,*The  Virgin  ap- 
pearing to  Moses'  (!),  and  medallions  of  prophets  which  are  fragments  re- 
moved from  the  Martinengo  palace  "al  Novarino"  in  the  Tosi  Collection; 
reminiscent  of  the  latter,  *The  Magdalen  anointing  Christ's  Feet  in  the 
House  of  Simon,'  a  dim  and  damaged  altarpiece  in  Santa  Maria  Calchera, 
and  a  somber  nativity  at  Santa  Maria  delle  Grazie,  suggesting  memories  of 
Velasquez. 

It  was  in  1530  that  Moretto  displayed  in  its  fullest  development  that  form 
of  his  art  which  had  been  modeled  on  Palma  and  Pordenone  by  producing 
the  grand  and  broadly  treated  'Majesty  of  St.  Margaret,'  with  St.  Jerome  and 
St.  Francis,  in  San  Francesco  at  Brescia.  In  the  graceful  afFectedness  of 
swelling  shapes,  in  the  comprehensive  delineation  of  frame  and  limb,  or  in  the 
broad  cast  of  ample  draperies  Pordenone  is  as  clearly  reproduced  as  Ro- 
manino  in  the  bend  and  foreshortening  of  the  heads,  whilst  powerful,  dim 
color  is  modeled  in  blended  gradations  in  the  low  key  which,  with  all  its  soft- 
ness, sadly  veils  so  many  of  the  master's  creations. 

Of  equal  grandeur  in  its  fulness  and  studied  contour,  but  clearer  and 
brighter  in  hue,  is  the  allegory  of  *  Faith,'  a  picture  of  this  period  in  the  Hermi- 
tage of  St.  Petersburg,  a  symbolic  ideal  in  the  shape  of  a  beautiful  female 
holding  the  cross,  the  wafer,  and  the  cup. 

More  elevated  still,  and  of  greater  dignity  in  its  combination  of  the  Raphael- 
esque  and  Palmesque,  is  the  kneeling  knight  at  the  Belvedere  of  Vienna,  pro- 
tected by  a  richly  dressed  damsel  with  the  unicorn  at  her  side  as  emblem  of 
chastity.  Majestic  beauty  dwells  in  her  face,  and  melody  of  silver  colors  com- 
bines with  soft  and  highly  blended  modeling  to  produce  an  impression  of  great 
freshness  and  brilliancy. 

A  most  winning  example  of  simple  incident  is  the  votive  altarpiece  of  1539 
executed  for  GalleazzoRovelli,in  Santa  Maria  de'Miracoli  at  Brescia.  A  pleas- 
ant naturalism  attracts  us  in  the  Virgin,  who  looks  down  from  the  pedestal  of 
aside  altar  on  which  she  holds  her  state.  She  supports  the  infant  Christ  astride 
of  her  knee,  chirping  at  possession  of  an  apple,  and  points  to  a  boy  on  the 
foreground  under  the  protection  of  St.  Nicholas  of  Bari,  who  brings  an  offer- 
ing of  the  fruit.  Nearer  the  spectator  is  another  boy,  holding  the  bishop's  miter, 
and  two  others  in  the  rear  in  tender  attitudes  of  devotion.  In  its  variety  of 
tinted  stuffs  of  wool,  of  silk,  of  brocade  —  for  distinguishing  which  Moretto 
was  famous  —  there  is  no  more  harmonious  picture  of  the  master.  The 
treatment  is  facile,  and  the  form  is  rendered  in  a  generous  and  fleshy  mould; 
and  there  are  few  compositions  in  which  we  more  honestly  commend  judicious 
setting,  applied  perspective,  or  realistic  action  united  to  Titianesque  gravity. 

That  Moretto  at  this  period  was  ambitious  of  rivaling  Titian  in  breadth 

[412] 


MORETTO  33 

of  touch,  in  splendor  of  colof,  and  in  stateliness  of  demeanor  is  apparent  in 
many  of  his  works,  and  in  none  more  than  in  the  majesty  of  St.  Anthony  of 
Padua  between  St.  Nicholas  of  Tolentino  and  St.  Anthony  the  abbot,  at  Santa 
Maria  delle  Grazie,  at  Brescia.  There  is  a  serious  and  severe  distinction  in 
this  piece  and  a  combined  excellence  of  contour,  drapery,  chiaroscuro,  and 
color  which,  added  to  bold  freedom  of  handling,  mark  it  as  an  exceptionally 
valuable  specimen  of  Moretto's  skill. 

In  another  and  perhaps  more  nearly  perfect  example  —  'The  Supper  at 
Emmaus'  in  the  Tosi  Collection  — we  find  a  very  successful  approach  to  the 
highest  performances  of  the  Venetian  school,  with  the  master's  individuality 
fully  preserved.  The  picture  is  of  a  deep,  warm  tone  and  rich,  substantial 
handling,  with  types  in  which  form  is  less  striking  for  selection  than  earnest- 
ness. A  very  decided  realistic  feeling  prevails  in  the  outspoken  nature  of  the 
movements  and  expression,  which  have  the  strong  and  straightforward  blunt- 
ness  of  middle  or  poor  class  life.  Christ,  behind  the  table,  in  a  gray  hat,  the 
falling  brim  of  which  overshadows  his  brow,  is  breaking  the  bread,  whilst  an 
apostle  to  the  right,  thrusting  himself  forward  on  his  seat,  leaning  his  cheek 
on  his  hand  and  his  elbow  on  the  table,  gazes  with  intentness,  as  if  desirous  of 
imprinting  every  feature  of  the  Redeemer's  lineaments  on  his  mind.  The  sec- 
ond apostle  sits  and  seems  to  await  the  result  of  this  examination.  To  the 
left,  the  host  descends  a  flight  of  steps;  and  a  girl  to  the  right,  in  fanciful  cap 
and  bodice,  carries  a  dish.  Moretto  strives  to  give  the  Saviour,  whose  face  is 
really  not  above  the  common,  a  calm  and  settled  air.  He  follows  Titian  in 
the  effort  to  obtain  effect  by  color,  by  massive  chiaroscuro  and  picturesque 
costume.  The  drawing  is  studied  and  comparatively  clean;  the  proportions 
are  good,  the  drapery  ample  and  well  cast,  with  adumbrations,  but  distinctly 
recall  Palma  and  Titian.  The  modeling  is  soft,  sweeping,  and  peachy,  and 
balances  equal  proportions  of  red  light  and  dusky  shade  in  blended  transitions. 
Titian  composes  with  more  elevation  of  thought  and  dwells  altogether  in  a 
higher  sphere.  His  drawing  is  finer  and  his  color  more  purely  harmonious, 
but  Moretto  comes  exceptionally  near  him  by  vigorous  realism  and  a  happy 
introduction  of  varied  incident  and  motive  thought.  .  .  . 

During  his  journeys  at  this  time  he  probably  became  acquainted  with  some 
of  the  men  who  formed  the  circle  of  Titian,  and  conceived  the  idea  of  extend- 
ing his  practice  by  cultivating  their'friendship.  He  was  well  aware  of  the  in- 
fluence wielded  by  Aretino  and  sought  to  obtain  his  interest  by  judicious 
flattery.  It  was  Aretino's  habit  to  put  artists  of  name  under  contribution, 
and  especially  to  induce  them  to  paint  his  likeness.  With  this  in  his  hand  he 
visited  the  palaces  of  Italian  princes  and  greater  potentates,  from  whom  he 
levied  considerable  sums  of  money.  In  communicating  with  princes  he  puffed 
the  artists  who  painted  the  portraits,  and  in  his  letters  to  artists  he  puffed 
the  princes  whose  amiable  qualities  or  political  virtues  he  extolled.  At  the 
close  of  every  year,  or  oftener,  if  it  served  his  purposes,  he  published  the  cor- 
respondence. Moretto's  portrait  of  Aretino  reached  Venice  in  the  autumn  of 
1544,  and  came  to  its  destination  through  Sansovino's  hands.  About  the 
same  time  Vasari  had  done  Aretino  some  service,  in  return  for  which  he  asked 

[413] 


34  MASTERS     IN     ART 

for  Aietino's  protection  in  obtaining  an  appointment.  Moretto's  picture  was 
forwarded  to  the  Duke  of  Urbino  with  a  j  udicious  eulogy  of  the  painter's  talent 
and  a  prayer  in  favor  of  Vasari's  cousin,  and  Vasari  was  made  acquainted  with 
the  transaction  in  a  note  flattering  to  himself,  Moretto,  and  the  Duke. 

We  may  believe  that  Moretto  derived  no  advantage  from  this  appeal  to 
one  of  the  most  venal  publicists  of  any  age.  It  is  certainly  curious  to  observe 
that  he  chose  a  time  for  making  it  when  his  talent  had  reached  its  culmination 
and  required  no  artificial  forcing.  The  date  of  his  present  to  Aretino  is  also 
that  of  his  celebrated  canvas  in  Santa  Maria  della  Pieta  at  Venice,  represent- 
ing *  Christ  in  the  House  of  Simon' —  a  canvas  which  may  be  considered  the 
most  important  that  Moretto  ever  produced.  It  was  not  commissioned,  as  we 
might  suppose,  for  a  Venetian  church,  having  been  ordered  for  the  convent  of 
Monsclice;  but  it  was  not  less  calculated  in  every  respect  to  enhance  his  value 
in  the  eyes  of  lovers  of  the  arts.  We  very  soon  remark  in  contemplating  this 
piece  how  closely  the  Brescian  is  related  to  the  Veronese  school:  a  common 
source  apparently  yielding  the  snake-toned  harmonies  of  Girolamo  dai 
Libri  Francesco  Morone,  and  Morando,  the  gay  contrasts  of  Moretto  and 
Savoldo,  the  picturesque  warmth  of  Bonifacio,  and  the  glowing  scale  of  Ro- 
manino.  Moretto  foreshadows  the  Veronese  style  of  his  picture  at  Venice  in 
the  *  Glory  of  St.  Anthony, '  at  the  Grazie  of  Brescia.  The  *  Feast  in  the  House 
of  Simon'  is  a  model  of  the  luxurious  monumental  style  which  found  so  grand 
an  exponent  in  Paolo  Veronese.  If  in  earlier  works  we  mark  a  combination 
of  blunt  expressiveness  and  gesture  with  gorgeous  color  and  massive  chiaros- 
curo, we  now  observe  the  same  qualities  allied  to  palatial  architecture  and 
splendid  dress.  The  house  of  the  Pharisee  is  a  residence  with  lofty  halls  and 
colonnades,  and  openings  showing  vistas  of  sky  and  landscape.  Christ  sits  at 
a  table  in  the  middle  of  a  vaulted  space,  pointing  to  the  Magdalen  prostrate  at 
His  feet.  Behind  the  board,  and  resting  both  hands  on  the  cloth,  a  bare- 
armed  servant  in  attitude  and  expression  of  surprise  gazes  at  the  incident, 
whilst  another  servant,  equally  astonished  and  more  curious,  peeps  over 
Christ's  shoulder.  Simon,  to  the  left,  with  his  head  in  a  turban  and  his  frame 
in  a  fur  pelisse,  looks  on  with  Titianesque  senatorial  calm.  Clinging  to  a  col- 
umn on  the  foreground  is  the  dwarf  buflFoon,  with  an  ape  on  his  shoulder,  and 
near  him  a  servant  with  cup  and  flask;  to  the  right,  two  females  communing 
on  the  event.  The  mere  description  of  th^  scene  suggests  the  name  of  Caliari; 
but  we  are  still  more  reminded  of  him  by  the  gray  architecture  on  which  the 
figures  are  relieved,  the  fine  perspective  of  the  pillars  and  friezes,  the  positive 
solidity  of  flesh-tints  broken  with  minium  and  red  earth  in  light  and  verdegris 
in  darks,  the  bright  vigor  of  costly  raiment-painting,  the  sweeping,  facile  touch. 
Paolo  Veronese  was  prolific  to  such  an  extent  in  turning  out  pictures  cov- 
ering yards  of  canvas  that  it  is  diflRcult  to  realize  or  remember  their  number. 
Moretto's  examples  of  the  same  kind  are  extremely  rare;  and  there  is  but  one 
worthy  to  be  placed  by  the  side  of  Simon's  feast;  and  that  is  the  *  Marriage 
of  Cana,'  in  San  Ferno  at  Lonigo.  Here  again  Moretto  is  the  precursor  of 
Veronese  in  the  colossal  subject  which  now!fills  the  wall  at  the  Louvre;  but  his 
version  of  the  miracle  has  not  the  comprehensive  size  or  splendor  of  Paolo's, 

[414] 


MORETTO  35 

and  is  unfortunately  injured.  There  are  some  traces  of  the  same  grand  prin- 
ciples of  treatment  in  the  noble  Virgin  with  theChild  and  saints  at  the  National 
Gallery,  an  altarpiece  which  seems  to  have  been  completed  for  a  Veronese 
church. 

THE    ABBATE-LUIGI    LANZI  <HISTORY    OF    PAINTING    IN    ITALY' 

ABOUT  the  same  time  several  Brescian  artists  greatly  distinguished  them- 
k-selves,  although  too  little  known,  for  want  of  enjoying  a  metropolitan 
city,  for  their  sphere  of  action.  .   .  . 

The  first  is  Allessandro  Bonvicino,  commonly  called  Moretto  of  Brescia, 
who  was  among  the  earliest  of  Titian's  school  to  introduce  his  master's  whole 
style  of  composition  into  his  native  district.  This  is  clearly  seen  in  his  picture 
of  *S.  Niccolo,'  painted  in  1532  for  the  Madonna  de  Miracoli,  in  which  he 
depicted  several  figures  of  children,  and  of  a  man  presenting  them  to  the  saint 
—  portraits  in  Titian's  best  manner. 

Subsequently,  attracted  by  the  composition  of  Raphael  as  exhibited  in  some 
pictures  and  engravings,  he  changed  his  style,  adopting  one  altogether  new, 
and  so  rich  in  attractions  that  many  dilettantes  have  gone  out  of  their  way  and 
visited  Brescia  for  the  sole  purpose  of  feasting  their  eyes  with  them.  The 
manner  of  Raphael  may  be  as  strongly  traced  in  them  as  we  can  imagine 
possible  for  a  painter  who  had  never  seen  Rome,  We  meet  with  graceful 
features;  elegant  proportions,  if  they  do  not  sometimes  appear  too  slender; 
accuracy  in  the  attitudes  and  expression,  which,  in  his  sacred  subjects,  dis- 
play, as  it  were,  the  peculiar  feeling  of  remorse,  of  pity,  and  even  of  charity 
itself.  The  drapery  is  diversified,  but  not  sufficiently  select;  while  all  the  ac- 
cessories of  the  perspective  and  other  embellishments  are  as  splendid  as  in 
any  Venetian  artist,  although  not  lavished  with  so  much  profusion;  and  he 
displays  an  exact,  diligent,  and  delicate  hand,  which  appears,  to  use  a  mod- 
ern expression  often  applied,  to  write  what  it  paints.  In  regard  to  coloring, 
Moretto  pursued  a  method  which  surprises  by  the  combined  novelty  and 
efi^ect.  Its  chief  characteristic  consists  of  a  very  beautiful  play  of  light  and 
shadow,  not  disposed  in  great  masses,  but  finely  tempered  and  contrasted 
with  each  other.  The  same  degree  of  art  he  applies  both  to  his  figures  and 
his  skies,  where  he  sometimes  depicts  clouds  whose  colors  are  contrasted  in  a 
similar  way.  For  the  most  part  his  grounds  are  bright  and  clear,  from  which 
the  figures  seem  to  rise  with  admirable  relief.  His  fleshy  parts  often  remind 
us  of  the  freshness  of  Titian's;  in  his  tints,  moreover,  he  is  more  varied  than 
the  latter,  or  any  other  of  the  Venetians.  Little  azure  appears  in  his  draperies, 
the  union  of  reds  and  yellows  in  a  picture  having  been  apparently  more  to  his 
taste.  It  is  the  same  with  other  colors,  a  circumstance  I  have  noticed  in  some 
of  his  contemporaries  both  of  Brescia  and  Bergamo.  Vasari,  who  has  re- 
corded his  name  along  with  that  of  many  other  Brescian  artists  in  his  life  of 
Carpi,  commends  him  for  his  skill  in  imitating  every  kind  of  velvet,  satin,  or 
other  cloth,  either  of  gold  or  silver;  but  as  he  did  not  see,  or  failed  to  commem- 
orate, some  of  his  finest  work,  he  has  by  no  means  done  justice  to  his  char- 
acter. 

[415] 


36  MASTERS    IN    ART 

Moietto  has  produced  some  works  in  fresco,  though,  if  1  mistake  not,  he 
colored  better  in  oils;  as  is  the  case  where  diligence  and  depth  of  parts  is  not 
equally  matched  with  pictorial  rapidity  and  fire.  He  employed  himself  a 
good  deal  in  his  native  province  and  the  adjacent  parts,  in  generally  distin- 
guishing himself  more  by  his  delicacy  than  by  his  grandeur  of  hand.  A  fine 
specimen  of  this  last,  however,  may  be  seen  in  his  terrific  picture  of 'Elias,* 
placed  in  the  old  cathedral.  He  was  intimate  with  all  the  best  methods  of  his 
art;  but  he  did  not  always  care  to  practise  them.  His  picture  of  'S.  Lucia,' 
in  the  Church  of  S.  Clemente,  is  not  so  much  studied  as  that  of  Catherine,  and 
even  this  yields  to  his  painting  of  the  great  altarpiece  representing  Our  Lady 
in  the  Air,  with  the  titular  and  other  saints  seen  below.  The  composition  is 
conducted  in  every  part  with  exquisite  taste,  and  the  piece  is  considered  one 
of  the  best  the  city  has  to  boast.  An  altarpiece  consisting  of  various  saints 
at  S.  Andrea,  in  Bergamo,  another  at  S.  Giorgio,  in  Verona,  with  the  'Fall  of 
St.  Paul,' at  Milan — with  which  last  he  appears  to  have  been  so  much  pleased 
as  to  have  subscribed,  what  was  very  unusual  for  him,  his  name  —  are  all  like- 
wise of  the  most  finished  composition.  He  was  esteemed  excellent  in  portrait- 
ure and  educated  in  this  branch  of  art. 

E.     L.     SEELEY  <ARTISTS    OF    THE    ITALIAN     RENAISSANCE' 

ALLESSANDRO  MORETTO,  of  the  noble  family  of  the  Bonvicini  at 
k.  Brescia,  was,  as  a  boy,  in  Titian's  house  for  some  time,  learning  art, 
while  he  tried  at  the  same  time  to  follow  the  manner  of  Raphael.  In  Brescia 
and  its  neighborhood  we  find  many  of  his  pictures.  Twelve  miles  from  Brescia, 
in  a  church  built  on  the  top  of  Monte  Paitone,  there  is  still  a  miraculous  pic- 
ture of  the  Virgin,  which  Moretto  painted  at  the  request  of  the  commune  on 
the  occasion  of  a  miraculous  event.  A  country  fellow  was  gathering  the  wild 
mulberries  on  the  mountain  when  the  Blessed  Virgin  appeared  to  him  in  the 
guise  of  a  grave  matron,  clad  in  white,  and  charged  him  to  go  to  the  people 
and  bid  them  build  a  church  in  her  honor  on  the  summit  of  the  hill,  promising 
that  if  it  were  done  an  epidemic  of  sickness  with  which  they  were  afflicted 
should  be  removed.  The  youth  obeyed  and  was  himself  restored  to  health. 
When  the  building  was  finished  Moretto  was  entrusted  with  the  painting.  He 
endeavored  with  great  earnestness  to  reproduce  the  figure  of  the  Virgin  as 
the  rustic  described  her,  but  found  all  his  eflforts  vain. 

He  feared  that  it  must  be  in  consequence  of  some  grave  sin  that  he  was  un- 
able to  do  it,  and  with  deep  devotion  sought  reconciliation  with  God  and  re- 
ceived the  holy  Eucharist;  then,  applying  himself  with  renewed  courage  to 
the  work,  her  image  appeared  in  the  picture  just  as  she  was  seen  by  the  coun- 
tryman, whom  he  painted  at  her  feet  with  the  wild  mulberries  in  his  hand. 
The  people  constantly  resorted  to  the  church,  and  obtained  from  the  divine 
hand  many  mercies  and  favors. 

It  is  related  of  another  picture  of  Our  Lady,  which  he  painted  for  a  church 
in  Bergamo,  that  the  lightning,  striking  the  altar  and  destroying  all  the  deco- 
rations, left  the  divine  figure  untouched.    There  are  several  portraits  of  Mo- 

[416] 


MORETTO  37 

retto,  and  among  others  his  own  in  a  doubtlet  of  many  colors ;  and  by  these 
pictures  Moretto  made  himself  known  as  a  good  draftsman  and  colorist,  who 
showed  much  pious  feeling  in  the  representation  of  sacred  pictures. 

RICHARD    MUTHER        'HISTORY    OF    PAINTING    FROM    FOURTH    TO    NINETEENTH    CENTURY* 

MORETTO,  one  of  the  noblest  painters  whom  Italy  produced,  gave 
his  altarpieces  a  grandiose  and  solemn  character.  A  cinquecentist  in 
the  powerful  simplicity  of  his  painting,  he  nevertheless  preserved  the  solemn 
sincerity  of  the  older  time;  and  at  the  same  time  he  strikes  strangely  mod- 
ern accords  of  color.  In  contrast  to  the  Venetians'  love  of  full  and  vibrating 
color-tones,  Moretto  attuned  everything  to  a  silver  gray.  He  felt  himself 
most  at  home  in  painting  the  white  cowls  of  his  monks,  which  supply  the 
leading  note  for  the  color-harmony  of  the  whole.  In  nature,  also,  cool  and 
gray-blue  tones  prevail.  The  water  is  white,  and  the  clouds  gleam  in  light 
gray.  The  evening  red,  with  the  Venetians  a  deep  crimson,  is  with  him  a 
grayish  or  lemon  color. 


Ct)e  Woxks  of  JHoretto 

DESCRIPTIONS    OF    THE    PLATES 
<ST.    JUSTINA*  PLATE    I 

THIS  picture  is  by  many  considered  the  finest  picture  Moretto  made,  and 
certainly  it  is  the  best  known.  It  is  probable  that  the  unicorn  adds  just 
that  unexpected  note  which  makes  a  picture  stick  in  one's  memory.  But  be- 
sides this,  the  woman's  head  is  of  a  distinguished  and  delicate  beauty.  The 
picture  was  a  sort  of  votive  offering  to  St.  Justina,  so  the  kneeling  figure  of 
the  donor  is  introduced.  At  first  sight  one  gains  the  idea  that  the  scene  is  a 
sort  of  Concert  Champetre  where  the  beautiful  saint,  the  gallant  duke,  and  the 
nondescript  unicorn  are  enjoying  themselves.  But  really  it  is  merely  a  pic- 
ture of  St.  Justina.  The  unicorn  is  introduced  chiefly  as  an  attribute,  the 
symbol  of  purity,  while  the  splendid  duke  is  introduced  merely  as  a  means  of 
suggesting  to  a  simple-minded  and  perhaps  illiterate  audience  that  he  was  the 
giver  of  the  picture. 

The  composition  of  this,  while  perfectly  adequate  and  well  considered,  is, 
at  the  same  time,  quite  original,  quite  different  from  what  one  has  seen  before. 
And  this  is  curious  because  it  is  conceived  on  the  ordinary  pyramidical  idea. 
But  the  way  in  which  the  unicorn  is  introduced,  and  the  curious  foliage  in  the 
right-hand  upper  corner,  give  the  picture  a  pleasantly  bizarre  aspect-  The 
drapery  of  the  saint  is  of  that  Crivellian  richness  which  has  already  been  al- 
luded to.    Certain  details  like  the  drapery  about  the  saint's  feet  and  the  linen 

[417] 


38  MASTERSINART 

gloves  of  the  donor  are  particularly  handsomely  made.     A  curious  detail  is 
that  the  unicorn  has  a  beard. 

'VIRGIN    IN    GLORY,     WITH    SAINTS'  PLATE    II 

MORETTO  often  made  his  altarpleces  on  a  rather  formal  plan,  al- 
though he  was  quite  capable,  as  in  the  St.  Nicholas  Bari,  of  making  a 
highly  original  composition.  The  picture  under  consideration  is  a  fine  ex- 
ample of  his  more  formal  style.  The  arrangement  reduces  itself  to  almost 
pyramidal  lines;  but,  on  the  other  hand,  the  movement  and  expression  of  the 
saints  and  of  the  Madonna  are  varied  and  personal.  The  w^omen  are  of  very 
much  the  same  type  of  beauty  as  appears  in  this  painter's  *St.  Justina.'  Very 
possibly  they  were  all  made  from  the  same  model. 

The  costumes  of  the  saints,  especially  of  the  two  bishops,  gave  Moretto  an 
opportunity  for  the  treatment  of  those  rich  and  gorgeous  stuffs  which  he  loved 
to  paint.  Note  the  disposition  of  the  bishops'  crooks,  which  are  not  precisely 
parallel,  but  are  arranged  in  such  a  way  as  to  give  variety  of  lines.  The  move- 
ment of  the  hands  of  the  female  saints,  though  mannered,  is  graceful  and  ex- 
pressive. 

A  noticeable  thing  about  the  group  in  the  clouds  is  that  the  young  John 
Baptist  is  included.  This  is  rather  uncommon,  as,  while  the  figure  of  John  is 
often  introduced  in  altarpieces,  it  is  generally  an  accessory  and  not  so  mark- 
edly a  part  of  the  central  group.  The  design  of  this  central  group  is  very 
handsome  and  largely  made,  though  one  regrets  that  it  is  quite  so  sharply 
separated  from  the  accessory  figures,  making,  indeed,  two  pictures  of  the  altar- 
piece —  a  fault  which  is  skilfully  avoided  in  the  *St.  Nicholas  Bari.' 

'MADONNA    AND    CHILD'       [DETAIL]  PLATE     III 

ONE  of  the  most  delightful  of  Italian  Madonnas.  The  Virgin  tries  to 
direct  the  attention  of  the  Child  to  the  children  with  the  saint,  but  He, 
with  the  delightful  inconsequence  of  a  little  child,  insists  on  playing  with  His 
mother.  The  invention  shown  in  the  making  of  this  group  is  remarkable; 
indeed,  as  much  may  be  said  for  the  whole  picture.  A  charming  detail  is  the 
treatment  of  the  veil  floating  about  the  Virgin.  She  is  clad  in  a  garment  whose 
stiff,  brocaded  aspect  recalls  the  fabrics  that  Carlo  Crivelli  loved.  This  is 
rather  uncommon,  as  the  Virgin  is  usually  represented  as  clad  in  plain  red 
and  blue.  The  drawing  of  the  child  is  exceptionally  fine,  and,  indeed,  the 
whole  movement  and  gesture  is  quite  delightful. 

<THE    SUPPER    AT    EMMAUS'  PLATE    IV 

AN  interesting  detail  about  the  composition  is  the  palmer's  hat  ornamented 
jL\.  with  mystic  symbols,  as  well  as  the  cockle-shell  that  the  Saviour  wears. 
This  was  Moretto's  ««// way  of  indicating  that  He  appeared  to  the  Apostles  as 
a  pilgrim,  though,  as  the  cockle-shell  was  an  emblem  that  came  in  much  later 
than  the  time  of  Christ,  the  symbolism  is  a  little  confused.  The  face  and  ges- 
ture of  the  Christ  are  well  conceived,  as  is  also  the  earnest  movement  of  the 

[418] 


MORETTO  39 

Apostle,  whose  draperies  are  treated  with  great  skill  and  handsome  invention. 
The  little  figure  of  the  girl  carrying  a  dish  is  very  typical  of  Moretto.  The 
flowers  in  the  hair  and  the  costly  linen  suggest  a  little  Princess  rather  than  a 
serving-wench,  but  that  kind  of  license  was  permissible  in  Moretto's  day. 

<THE    MAGDALEN    AT    THE    FEET    OF    THE    SAVIOUR'  PLATE    V 

THIS  is  a  subject  which  Moretto  has  treated  at  least  twice,  the  other  in- 
stance being  'Christ  at  the  House  of  the  Pharisee'  in  Venice.  This 
scene  is  painted  with  a  realism  rather  uncommon  in  Italian  art  at  this  time. 
Yet  the  result  is  very  dignified  and  distinguished.  The  head  and  draperies  of 
the  Magdalen  are  particularly  well  realized,  and  the  hands  are  beautifully 
made.  The  head  of  Christ,  of  a  diflferent  and  more  virile  type  than  is  usually 
seen  in  Italian  art,  is  also  well  made.  Among  the  details,  one  notes  that  the 
table-cloth  and  the  still  life  on  it  are  handled  with  much  skill. 

<FAITH'  PLATE    VI 

THE  composition  or  space  filling  of  this  picture  Is  admirable,  with  the 
subtle,  graciously  curved  lines  of  the  figure  contrasting  against  the  severe, 
straight  ones  of  the  grim  cross.  An  analysis  of  the  colors  used  may  be  of  in- 
terest because  they  give  a  pretty  good  idea  of  the  color  aspects  of  many  of 
Moretto's  pictures.  On  the  head  is  a  white  veil  over  warm  gray.  About  the 
shoulders  is  a  mantle  or  scarf  of  a  faded  pale  canary  yellow.  This  color,  to- 
gether with  his  blues,  were  favorite  colors  of  Moretto.  In  this  he  resembles 
Vermeer  of  Delft,  who  had  a  liking  for  just  the  same  colors.  The  garment 
about  the  waist  is  of  a  deep  crimson,  with  a  lighter  crimson  skirt  made  of 
glazing.  The  cross  is  umber  color,  and  behind  are  hills  of  deep  sea  blue  and 
dull  blue  skies  with  whitish  clouds  here  and  there. 

^PORTRAIT    OF    AN    ECCLESIASTIC'  PLATE    VII 

MORETTO  was  famous  for  his  skill  in  the  treatment  of  the  texture  of 
draperies,  and  this  portrait  is  a  fine  example  of  his  ability  in  this  sort  of 
exercise.  But  apart  from  all  this,  which  after  all  is  secondary,  the  expression 
of  character  in  the  man's  face  is  remarkable.  While  not  a  sympathetic  or 
attractive  face,  it  yet  has  strong  characteristics.  The  character  of  the  big  nose, 
the  rather  thin  lips  with  chetif  moustache^  the  dark  eyes  and  sunken  cheeks, 
are  well  rendered.  The  hands,  while  well  placed  and  well  enough  rendered, 
are  not  exceptional.  As  to  the  hour  glass,  it  was  a  symbol  commonly  enough 
introduced  into  portraits,  a  reminder  that  the  sands  of  life  were  running.  The 
books  and  rug  on  the  left  are  well  rendered. 

^PORTRAIT    OF    A    BOTANIST'  PLATE    VIII 

THAT  quality  which  is  vaguely  described  by  the  word  "distinction"  is 
the  pervading  influence  in  this  portrait,  as  it  is  in  so  much  of  Moretto's 
work.    Besides  having  much  of  the  remarkable  feeling  for  character  so  marked 

[419] 


40  MASTERS     IN     ART 

in  Moretto's   pupil   Moroni,  it  has  a  decorative  effect  in  arrangement  that 
Moroni  hardly  attained  to. 

The  head  in  this  portrait  is  of  a  cold  distinction  that  is  rather  fine.  The 
arrangement  is  nothing  out  of  the  ordinary,  but  gives  a  dignified  effect.  As 
for  the  hands,  it  must  be  confessed  that  they  are  not  very  w^ell  done.  The 
book,  however,  is  w^ell  rendered,  as  are  the  botanical  specimens  in  front. 
Note  the  vine  on  the  w^all,  which  runs  in  exactly  the  right  direction  to  counter- 
act the  strong  trend  of  the  composition  from  right  to  left.  This  picture  has 
all  the  dignity  of  the  fine  portraits  by  Titian  and  Tintoretto,  yet  is  treated  in 
a  realistic  manner  more  grateful  to  our  modern  eyes. 

<ST.    NICHOLAS    BARI    PRESENTING    INFANTS    TO    THE    MADONNA'  PLATE    IX 

A  REMARKABLY  fine  example  of  Moretto  at  his  best.  The  composi- 
tion is  admirable  and  quite  difl?^erent  from  the  ordinary  formal  pyram- 
idal style,  which,  to  tell  the  truth,  Moretto  himself  was  apt  enough  to  employ 
in  his  pictures.  In  the  picture  under  discussion,  however,  the  composition 
gains  from  a  certain  unexpectedness,  the  figure  of  the  Madonna  and  Child 
being  placed  well  to  the  right  on  high,  while  St.  Nicholas,  with  the  children, 
fills  the  left-hand  lower  corner.  This  makes  a  rather  definite  diagonal  from 
left  to  right,  which  is  skilfully  modified  by  upright  lines. 

One  noticeable  thing  about  this  picture  is  the  intense  realism  shown 
throughout,  which  does  not,  however,  injure  the  dignity  or  impressiveness  of 
the  composition.  Indeed,  it  rather  adds  to  it,  making  the  scene  more  impres- 
sive because  like  something  seen  in  real  life.  The  heads  are  very  well  charac- 
terized; the  children  do  not  appear  to  be  mere  **putti,"  but  each  one  has  his 
separate  character.  The  head  of  the  good  old  saint,  again,  while  it  is  dignified 
and  impressive,  is  yet  entirely  personal  and  original,  not  at  all  like  one  of  those 
Raphaelesque  types  of  old  men  so  common  and  so  popular  at  this  time.  The 
benevolent  old  features  are  well  characterized,  and  the  figure  is,  at  the  same 
time,  simple,  dignified,  and  touching.  The  children,  too,  are  well  differen- 
tiated as  to  character,  not  only  the  features  but  even  the  quality  of  the  hair 
being  well  observed.  Amusing  and  naif  details  are  the  weeds  growing,  as  so 
often  in  Italy,  from  fissures  and  brackets  of  the  masonry. 

'PORTRAIT    OF    AN    UNKNOWN    MAN'  PLATE   X 

A  MAN  of  a  singular  and  rather  sinister  type.  Especially  to  be  noted  is  the 
extreme  length  of  the  nose;  also,  the  marked  squareness  of  the  head. 
The  positionof  the  two  hands  in  an  attitude  of  prayer,  which  is  common  enough 
in  pictures  of  donors,  is  rather  peculiar  in  a  portrait.  The  rich  fur  cloak, 
partly  thrown  ofl^,  gives  Moretto  a  chance  to  render  the  textures  that  he  loved. 
Not  so  rich,  but  quite  peculiar  in  quality,  is  the  jersey-like  ribbed  texture  of 
the  tunic  which  the  man  wears.  Although  perfectly  simple,  both  in  pose  and 
in  treatment,  this  picture  achieves  that  eflPect  of  strangeness  so  often  felt  in 
Moretto's  work,  a  quality  not  got  by  striving,  but  marking  the  absolute  origi- 
nality and  distinct  personality  of  the  master. 

[420] 


MORETTO  41 

A    LIST    OF    THE    PRINCIPAL    PAINTINGS    BY    MORETTO 
WITH    THEIR    PRESENT    LOCATIONS 

AUSTRIA.  Budapest  Gallery:  Saint;  Bust  of  a  Man;  St.  Roch  — ENGLAND. 
l\.  LoNDONj  National  Gallery:  Portrait  of  Conte  Sciarra  Martinengo  Cesaresco;  St. 
Bernardino  of  Siena;  Portrait  of  an  Italian  Nobleman;  Madonna  and  Saints;  Two  Angels; 
St.  Joseph;  St,  Jerome  —  Richmond,  Sir  Frederick  Cook:  Entombment;  A  Bishop  — 
FRANCE.  Paris,  Louvre:  Saints  Bernardino  and  Louis;  Saints  Bonaventure  and  An- 
thony of  Padua —  GERMANY.    Berlin  Gallery:  Glorification  of  Mary  and  Elizabeth 

—  Berlin,  Geh.  Richard  van  Kaufmann:  Portrait  of  M.  A.  Savelli  —  Berlin,  Wes- 
ENDONCK  Collection  :  Madonna  Enthroned  —  Cassel  Gallery  :  Adoration  of  Shepherds 

—  Frankfort  a/M.,  Museum:  Madonna  and  Church  Fathers  —  Hamburg,  Consul 
Weber:  Deposition — Munich  Gallery:  Portrait  of  Ecclesiastic  (Plate  vii) — ITALY. 
Albino,  Parish  Church:  St.  Anthony  Abbot  —  Bergamo,  Lochis  Gallery:  Holy 
Family  and  John  the  Baptist;  Samson  asleep  in  Landscape;  Christ  with  Cross  adored  by 
Donor  —  Bergamo,  Morelli  Gallery:  Madonna  and  St.  Jerome;  Christ  and  the  Sa- 
maritan—  Bergamo,  Sig.  Frizzoni-Salis:  Bust  of  Man  —  Bergamo,  Conte  Suardi: 
Bust  of  Man  —  Bergamo,  Church  of  S.  Andrea:  Madonna  and  Four  Saints  —  Brescia, 
Martinengo  Gallery:  Pentecost;  Large  Nativity  and  Saints;  Smaller  Nativity;  Portrait 
of  Man;  Christ  with  an  Angel  holding  His  Garment;  Madonna  appearing  to  St.  Francis 
and  Donor;  Madonna  appearing  to  Four  Saints;  Saints  Anthony  of  Padua,  Nicholas  of 
Tolentino,  and  Anthony  Abbot;  Madonna  in  Glory  with  Saints  Francis,  Jerome,  and  An- 
thony Abbot ;  Christ  at  Emmaus  (Plate  i v) ;  Annunciation ;  Christ  bearing  Cross ;  Christ  faint- 
ing under  the  Cross;  Madonna  with  St.  NIchola  and  Children  (Plate  ix);  Vision  of  Moses 
[Celling  Fresco]  — Brescia,  Bishop's  Palace:  Salome;  Madonna  with  Saints  John  and 
Lorenzo  GlustiniamI,  and  Divine  Wisdom  —  Brescia,  G.  Fenaroli  :  Drunkenness  of  Noah 

—  Brescia,  Luogo  Pio  di  S.  Zita:  Christ  and  His  Mother  —  Brescia,  Church  of  S. 
Clementi:  St.  Clement  and  Other  Saints;  St.  Cecily  and  Other  Saints;  St.  Ursula  and  Vir- 
gins; Madonna  with  the  Two  St.  Catherines;  Melchlsedek  and  Abraham — Brescia,  Church 
OF  Santo  Cristo  :  Saints  Peter  and  Paul,  and  Fall  of  Simon  Magus;  Ascension  —  Brescia, 
Church  of  S.  Francesco:  Saints  Margaret,  Francis,  and  Jerome  —  Brescia,  Church 
OF  S.  Giovanni  Evangelista:  Vision  of  the  Madonna;  Scenes  from  the  Life  of  John  the 
Baptist;  Massacre  of  Innocents;  Gathering  of  Manna  [Fresco]  ;  Elijah  [Fresco]  ;  Last  Supper 
[Fresco]  ;  Prophets  and  Evangelists  [Fresco]  — Brescia,  Church  of  S.  Maria  in  Cal- 
CHEra:  Dead  Christ  adored  by  Saints  Dorothy  and  Jerome;  Magdalen  washing  Feet  of  Christ 

—  Brescia,  Church  of  S.  Maria  delle  Gracie:  Vision  of  the  Madonna  —  Brescia, 
Church  ofS.  Angels:  Coronation,  with  Four  Saints  Below —  Brescia,  Church  of  Saints 
Nazzaro  and  Celso:  Coronation  and  Saints;  Blood  of  Redeemer;  Nativity  —  Comero, 
Parish  Church:  St.  Anthony  Abbot  —  Lonigo,  Church  of  St.Fermo:  Marriage  of 
Cana;  St.  Jerome  and  Two  Saints —  Manerbio,  Parish  Church:  Madonna  appearing  to 
Four  Saints  and  Donor  —  Mazzano,  Parish  Church:  Madonna  appearing  to  Saints  Se- 
bastian and  Roch  and  a  Bishop  —  Milan,  Ambrosiana  Gallery:  St.  Peter  Martyr  — 
Milan,  B,b.era  Gallery:  Madonna  with  Saints  Jerome,  Francis,  and  Anthony  Abbot; 
Assumption  and  Four  Saints;  St.  Francis  —  Milan,  Castello  Gallery:  St.  Anthony  of 
Padua;  Triptych,  St.  Ursula,  St.  Jerome,  and  John  the  Baptist —  Milan,  Comm.  Benigno 
Crespi:  Visitation — Milan,  Marchesi  Fassati:  Portrait  of  Man  —  Milan,  Dr.  Gustavo 
Frizzoni:  Madonna  and  Angels  —  Milan,  Duchess  Josephine  Melzi  d'Eril-Barbo: 
Madonna — Milan,  Cav.  Aldo  Noseda:  Three  Small  Saints  —  Milan,  Church  of  S. 
Maria  PRESSO  S.  Celso:  Conversion  of  St.  Paul  —  Naples,  Museum:  Ecce  Homo  — 
Orzinuovi,  Parish  Church:  Madonna  with  Four  Saints  and  Donor — Paitone,  Two 
GRIMACE  Church:  Madonna  appearing  to  Boy  —  Possagno,  Tempio  di  Canova:  Pil- 
Salnts  with  Books;  MadonnaofMercy  adored  by  Penitents  —  Pralboino,  Parish  Church; 
Madonna  with  Saints  Sebastian  and  Roch;   Madonna  appearing  to  Four  Saints  and  Donor 

—  Rome,  Vatican:  Madonna  enthroned  and  Saints  —  Rome,  Marchese  Visconti  Ve- 
nosta:  Holy  Family  —  Venice,  Academy:  St.  Peter;  John  the  Baptist  —  Venice,  Pa- 
lazzo Dona  delle  Rose:  Man  on  Horse  —  Venice,  LadyLayard:  St.  Jerome  In  Desert; 

[421] 


42  MASTERSINART 

Madonna  and  Two  Monks;  Portrait  of  Bearded  Man  with  joined  Hands  (Plate  x)  — Venice, 
Church  of  S.  Maria  della  Pieta:  Christ  in  House  of  Levi  —  Verona,  Gallery:  Bust 
of  Man  —  Verona,  Church  of  S.  Eufemia:  Madonna  in  Glory  with  Saints  —  Verona, 
Church  ofS.  Giorgio  in  Praida:  Madonna  appearing  to  Saints  Cecily,  Agnes,  Barbara, 
and  Lucy — Vienna,  Imperial  Gallery:  St.  Justina  (Plate  i) — Vienna,  Academy: 
Madonna  with  St.  Anthony  Abbot  —  Vienna,  Prince  Leichtenstein  :  Madonna  with  St. 
Jerome;  St.  Jerome  —  Vienna,  Countess  Sezze  Noris:  Coronation  of  Virgin  —  SPAIN. 
Madrid,  Escurial:  Isaiah;  Erythraean  Sibyl  —  RUSSIA.  St.  Petersburg,  Hermitage 
Gallery:  Faith  (Plate  vi)  — UNITED  STATES.  Philadelphia,  John  G.  Johnson: 
Madonna  and  Donors. 


A    LIST    OF     THE    PRINCIPAL    BOOKS    AND     MAGAZINE     ARTICLES 
DEALING    WITH     MORETTO 

BERENSON,  B.  The  North  Italian  Painters  of  the  Renaissance.  New  York,  1907  — 
Crowe,  J.  A.,  and  Cavalcaselle,  G.  B.  History  of  Painting  in  North  Italy.  Lon- 
don, 1 871 — Lanzi,  a.  L.  a.  Translated  by  T.  Roscoe.  History  of  Painting  in  Italy. 
London,  1828  —  Morelli,  G.  Italian  Painters:  The  Borghese  and  Doria-Pamfili  Gal- 
leries in  Rome.  London,  1892  —  Seeley,  E.  Artists  of  Italian  Renaissance.  London, 
1907 — Woltmann,  A.,  AND  Woermann,  K.    History  of  Painting.    New  York,  1890. 

magazine  articles 
Catholic  World:    M.  R.  Selmes;  The  Raphael  of  Brescia. 

[422] 


MASTERS    IN     ART 


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MASTERS     IN     ART 


MASTERS  IN  ART 

BACK    NUMBERS    AND    BOUND    VOLUMES 


MASTERS  IN  ART  was  established  in  January,  1900.  As  will  be 
seen  from  the  following  hst  of  painters  and  sculptors  covered  by 
the  hist  eiglit  years,  the  bound  volumes  form  a  fairly  complete  reference 
library  of  Art.     The  subjects,  in  order  of  publication,  are  as  follows  : 

VOLUME  I  (1900)  treats  of  Van  Dyck,  Titian,  Velasquez, 
Holbein,  Botticelli,  Rembrandt,  Reynolds,  Millet,  Giov.  Bellini, 
Murillo,  Frans  Hals,  and  Raphael. 

VOLUME  II  (1901)  treats  of  Rubens,  Da  Vinci,  Diirer, 
Michelangelo  (Sculjyture),  Michelangelo  (Painting),  Corot, 
Burne-Jones,  Ter  Borch,  Delia  Robbia,  Del  Sarto,  Gains- 
borough, and  Correggio. 

VOLUME  III  (1902)  treats  of  Phidias,  Perugino,  Holbein's 
Drawings,  Tintoretto,  Pieter  de  Hooch,  Nattier,  Paul  Potter, 
Giotto,  Praxiteles,  Hogarth,  Turner,  and  Luini. 
VOLUME  IV  (1903)  treats  of  Roniney,  Fra  Angelico,  Wat- 
teau,  Raphael's  Frescos,  Donatel- 
lo,  Gerard  Dou,   Carpaccio,  Rosa 
Bonheur,    Guido  Reni,  Puvis  de 
Chavannes,    Giorgione,  Rossetti. 

VOLUME  V  (1904)  treats  of 
Fra  Bartolomraeo,  Greuze,  DU- 
rer's  Engravings,  Lotto,  Land- 
seer,  Vermeer  of  Delft,  Pintoric- 
chio.  The  Van  Eycks,  Meissonier, 
Barye,  Veronese,  and  Copley. 

VOLUME  VI  (1905)  treats  of 

Watts,  Palma  Vecchio,  Madame 

Vigee  le  Brun,  Mantegna,  Char- 
din,  Benozzo  Gozzoli,  Jan  Steen, 

Memlinc,   Claude   Lorrain,    Ver- 

rocchio,  Raeburn,  and  Fra  Fihp- 

po  Lippi. 
VOLUME   VII   (1906)   treats    of  Stuart,   David,   Bocklin,    Sodoma, 
Constable,  Metsu,  Ingres,  Wilkie,  Ghirlandajo,  Bouguereau,  Goya,  and 
Francia. 

VOLUME  VIII  (1907)  treats  of  Sir  Thomas  Lawrence,  Ruisdael, 
Filippino  Lippi,  La  Tour,  Signorelli,  Masaccio,  Teniers  the  Younger, 
Tiepolo,  Delacroix,  Jules  Breton,  Rousseau,  and  Whistler. 
VOLUME  IX  (1908)  treats  of  Edouard  Manet,  Carlo  CrivelU,  Nicolaas 
Maes,  Lord  Leighton,  Duccio,  George  Inness,  Wm.  M.  Hunt,  El  Greco, 
Albert  Moore,  Moretto,  Sir  John  Everett  Millais,  and  Bastien-Lepage. 

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Masters  in  Art  for  1909 


The  subjects  selected  for  the  1909  volume  promise  to  make 
it  one  of  the  most  interesting  of  the  entire'  series.    Num- 
bers will  be  devoted  to  the  following  artists: 


FORTUNY 
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THE 

MADONNA 

By  Philip  L.   Hale 


A  CRITIC  AL  analysis  of  the  way  the  master  painters  have  pictured 
the  Madonna,  together  with  a  short  historical  sketch  of  the  devel- 
opment of  this  great  religious  art  subject.  The  author,  Mr.  Philip  L. 
Hale,  himself  a  painter,  is  one  of  the  ablest  writers  on  art  in  this  country. 
The  text  is  illustrated  by  twenty  full-page  plates,  a  list  of  which  is  given 
below.  These  plates  are  of  the  highest  quaUty,  and  in  point  of  depth 
and  richness  of  color  and  clearness  of  detail  are  not  surpassed  by  any 
reproductions  of  the  same  size.  The  page  measures  8  x  11  inches. 
No  pains  have  been  spared  to  make  this  a  desirable  acquisition  to  every 
art  lover's  library ;  as  a  gift-book  it  is  especially  appropriate. 

LIST     OF     PLATES 

The  SismfE  Madonna Raphael  Madonna  with  the  Cherries    ....    TrriAir 

Boyal  Gallery,  Dresden  Imperial  Gallery,  Vienna 

Madonna  of  the  Chair Raphael  Madonna  of  the  Pesaro  Family    .     .     .    Titxan 

PUti  Palace,  Florence  Church  of  the  Frari,  Venice 

Madonna  op  the  House  of  Alba     .     Raphael  The  Nativity  ("The  Night")  .     .     ,  Corkbooio 

The  Hermitage,  St.  Petersburg  Royal  Gallery,  Ifresden 

Virgin  of  the  Rocks   .     .       Leonardo  da  Vinci  The  Meyer  Madonna         Holbein  tete  Yoi;nger 

Louvre,  Paris  Grand-Ihical  Palace,  Darmstadt 

The  Assumption  of  the  Virgin      .     .     .    Titian  The  Madonna  of  Castelfranco      .    .  Giorgione 

The  Academy,  Venice  Castelfranco  Cathedral 

St.  Anne,  the  Virgin,  and  the  Christ-  The  Madonna  of  the  Two  Trees  .     .     .  Bellini 

Child Leonardo  da  Vinci  Acadenw,  Venice 

Louvre,  Paris  The  Vow  of  Louis  XHI Ingres 

The  Virgin  Adoring  the  Christ-Child  Cathedral,  Montauban 

Correggio  Coronation  of  the  Virgin   ....  Botticelli 
U^zi  Gallery,  Florence  Ufftzi  Gallery,  Florence 

Madonna  of  the  Sack Del  Sarto  Madonna  and  Child  with  Two  Angels, 

Church  of  the  Annunziata,  Florence  Fra  Fiuppo  Lippi 

The  Immaculate  Conception     .     .     .      Murillo  Uffizi  Gallery,  Florence 

Louvre,  Paris  The  Madonna  and  Three  Dominican  Saints, 

Virgin  and  Child Crivelu  Tiepolo 

Brera  Gallery,  Milan  Church  of  the  Gesuati,  Venice 

Price,  boated  and  ea^press  prepaid,  $1.00 

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